Below, he shares details about how he and his team brought the animated Batman, Batman’s frenemies, and Batman’s wonderful toys to life through sound – and how that signature ‘LEGO quick brick build’ sound was created:
Interview by Jennifer Walden, images courtesy of Warner Bros. Pictures and Big Bang Sound Design
The Comic-Con trailer for the LEGO Batman Movie
Pop culture history (and DC Comics to some degree) has given us a number of Batmans to savor. Depending on your personal taste, you might agree that those early TV series Batmans were a bit cheesy. Michael Keaton’s Batman portrayal was wonderfully salty. And that combining ‘Ben Affleck’ and ‘Batman’ was like combining oatmeal and hot sauce. But there’s one Batman against whom all future Batmans should be gauged. And that benchmark is LEGO Batman (voiced by Will Arnett). He that will only “work in black, and sometimes very very dark grey” deserves the moniker… nay, the title, of ‘Dark Knight.’
Award-winning supervising sound editor/sound designer Wayne Pashley, co-owner of Big Bang Sound Design in Sydney, Australia is one guiding force behind the sound of The LEGO Movie, and now The LEGO Batman Movie. Together with supervising dialogue editor Rick Lisle and supervising sound effects editor Fabian Sanjurjo, they built the sound of the LEGO universe brick by brick.
Here, Pashley shares details about how he and his team brought the animated Batman, Batman’s frenemies, and Batman’s wonderful toys to life through sound in The LEGO Batman Movie. Also, how they made that signature ‘LEGO quick brick build’ sound that can be heard across the spectrum of LEGO branded films, TV projects, and video games.
From left: Fabian Sanjurjo, Wayne Pashley and Rick Lisle from The LEGO Batman Movie sound team
How did you get involved with the film?
Wayne Pashley (WP): We were approached to work on The LEGO Batman Movie, because of our existing relationship with Warner Bros., having completed The LEGO Movie in 2014. We had worked with Chris McKay, Christopher Miller, Phil Lord and Dan Lin on that previous film, and this was a natural progression. We have also had a longstanding relationship with Animal Logic, the animation studio responsible for producing the amazing visuals.
Where did you do the sound editing on the film?
WP: Primarily the sound design was completed at Big Bang Sound Design’s studio in Sydney. I divided my time between Sydney and LA, as the mix was completed at Warner Bros Sound. During that period we also had additional sound editing happening on site at Warner Bros.
The Extended TV Spot for The LEGO Batman Movie
Who were the members of your sound design team, and what sounds did they handle?
WP: The sound design team was made up of around 15 highly talented crew. Apart from myself as supervising sound editor/designer, I had a fantastic dialogue team headed up by supervising dialogue editor Rick Lisle, and an incredible effects team under supervising sound effects editor Fabian Sanjurjo.
I find that the best way to handle complex films like this is to assign each editor a character, or set of characters, and have them responsible for all the sounds associated with that character
I find that the best way to handle complex films like this is to assign each editor a character, or set of characters, and have them responsible for all the sounds associated with that character. For example, Fabian was responsible for all sounds associated with Batman himself – so anything that Batman did or used as a prop, fell to Fabian to create the sound for. If Batman throws a bomb, Fabian is responsible for the sound of the ensuing destruction.
We had the incredible talent of John Simpson creating the Foley, and the Oscar winning mixers at Warner Bros. Sound, Michael Semanick, Gregg Landaker, as well as Tim Le Blanc and myself pulling it all together on the sound stage.
What were director Chris McKay’s initial concerns for sound?
WP: I wouldn’t really call them concerns, but Chris’s main objective was to differentiate between this film and The LEGO Movie.
The trailer for the 2014 The LEGO Movie, which Wayne Pashley was also Supervising Sound Editor on
McKay was an editor on The LEGO Movie in 2014. Did he want to stay true to any style choices established on that film, or did he want The LEGO Batman Movie to sound different?
WP: As far as sound was concerned, Chris was determined to stay true to the realistic intent of the film. Rather than keeping the sound in the full plastic concept of LEGO, he wanted to go down the road of emulating more recent Batman movies in the style of, for example, The Dark Knight films. He wanted it to sound like an action adventure film, but incorporating LEGO characters into that real world style.
He wanted it to sound like an action adventure film, but incorporating LEGO characters into that real world style
Everything, down to the footsteps, were actual real world sounds. He was determined to move away from the concepts of The LEGO Movie, and to make this a standalone film. There were some notable exceptions, such as the vocal “pew, pew” sounds of the guns, but even these were backed up with real gun effects underneath. It’s a fine line, when you are playing for comedy.
There’s that great ‘quick brick build’ sound for when characters build things, which has also been used in The LEGO Movie, and LEGO games like LEGO Jurassic World, and for TV projects too, like LEGO Star Wars: The Padawan Menace. How did you guys make that sound?
WP: That sound was made by recording real LEGO Duplo bricks, plastic buckets, Tupperware, etc. — all different weights of plastic. We would then cut the Master Builder effects together as a very fast, tight sequence which we then ran through Soundtoys Tremolator plug-in, to make them even faster, and give the sound movement.
It was a device we first used on The Padawan Menace, and has since become a signature sound for the LEGO brand.
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Game Audio Packs & Bundles Dirt & Asphalt Series: Motorbikes Bundle Play Track 365 sounds included, 305 mins total$116.66$99.17Dirt & Asphalt Volume 1 is the first addition of vehicle and transportation recordings from Output Audio. This library contains a selection of recordings from 3 road bikes, with additional bonus content from other road motorbikes. The library also contains acceleration ramps for use in granular playback engines.
Road bikes included:
• Yamaha 450cc Thumper
• Triumph 600cc Dual Fuel Injection
• Aprillia RST 1000cc Futura
• A selection of bonus pass-bys and externals from a range of high performance bikes
Dirt & Asphalt Volume 2 is the second addition of vehicle and transportation recordings from Output Audio. This library contains a selection of recordings from two motocross events and two practise sessions, with additional bonus content provided as race atmospheres.
Library highlights:AMCA Motocross Classes Included:
MX1/MX2/Experts/Seniors Unlimited classesEngine Sizes Included:
85cc/125cc/250cc/450cc engines
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Ui Two is the sequel to our overwhelming popular Ui One collection, this collection contains 377 original sounds uniquely crafted for creating user interfaces, telemetry, gadgetry and more.
Empty Sea’s Mark Camperell, carefully crafted these sounds using a variety of beepers, boopers and other sonic tools. A sample of which include synths, samplers, spectral editors and more. Each sound was recorded at 48k/24bit. Planned, processed, mangled and otherwise destroyed, every single tone was tweaked until it was something new, original, and exciting.
As usual, we meticulously edited, mastered and embedded the files with metadata. This collection is priced to move, so don’t hesitate. If you’re tired of the your same old UI inspiration, Ui Two from The Library by Empty Sea is a great addition to your library.
33 %OFFEnds 1578005999 -
An electric car sound library with a range of FX from the Hyundai SUV, Kona.
The library includes numerous driving FX on both gravel and asphalt including pass-bys, take offs, corners, approaches and skids.
It also contains a large range of interior recordings from driving at highway speed all the way to buttons and switches.
Multiple FX on each track – recorded in Sydney, Australia
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car interiors library is a great supplement for all the car engine sounds that you already own. That way the action on the inside of the car is not stale at all. Dashboard buttons, seatbelts, automatic windows, switches, switching gears, brake, clutch and gas pedals, vents, turning signals. They’re all here!
Got a whole bunch of roaring car engine sounds but then realised that you’re not equipped with all of the boring stuff like:
car door handles, seatbelts, turn signal, air vents, buttons and switches, seats, storage compartments, horns, windows, pedals (gas, brake, clutch), handbrakes wend
and all other Car Interior sound effects? Well then.. look no further! This is just the pack for you.
160 wav files with over 400 single sounds in total. Car Interiors will spice up that car interior scene with real, crisp sounds, recorded from over 6 cars in total!20 %OFFEnds 1574981999 -
Destruction & Impact Cinematic Strikes Play Track Up to 4140 sounds includedFrom: $119From: $95.20ENORMOUS SOUNDING PERCUSSIVE HITS
CINEMATIC STRIKES joins the BOOM Library Cinematic Series – and it focuses on big sounding drums. A whole world of cinematic percussive sound design lies a few clicks away: From devastating cracks and stomps over crisp swells and rolls to epic ensemble hits – you will be sure to find and build just what you are looking for.
With the ultimate flexibility of different microphone positions, single and ensemble hits, flams and swells using various drums and beaters, you couldn’t be better equipped to design huge blockbuster and trailer hits – or simply place ready-to-use DESIGNED sounds into your timeline and feel the earth shake.
CINEMATIC STRIKES – CONSTRUCTION KIT:
FLEXIBLE SOUND DESIGN TOOLKITThe Construction Kit offers you one of the most comprehensive drum hit packages ever recorded. Carefully planned to satisfy and complement every spot in the frequency range, you will never run out of low end booms, aggressive cracks, mid-range body impacts, reverberant tails and excellent sweeteners to top it off.
PERSPECTIVE & RHYTHM
Not only are you able to produce impressive sounding hits, but also transition into, out of and between peaks. Control the attack and release of each sound, using rolls, flams, double hits and other meticulously performed techniques. Three coherent microphone positions make spatial adjustments a breeze.
Files: 618 • Sounds: 3708 • Size: 13 GB
CINEMATIC STRIKES – DESIGNED:
MAXIMUM PUNCH – AND THEN SOMECINEMATIC STRIKES – Designed is what you get when layering and processing Construction Kit sounds BOOM Library style.
From rumbling low-end BOOMS, soft and natural sounding WHOOSH HITS to aggressive, frontal CRACKS and PUNCHES, the Designed library showcases what’s possible, while saving precious time and budget on a tight schedule.
This package is particularly useful for filmmakers and trailer sound designers.
Files: 108 • Sounds: 432 • Size: 1.4 GBCINEMATIC STRIKES BUNDLE:
THE BUNDLE – The best of both worlds at a discounted price.
The Bundle gives you the full sound design power as it contains both – the DESIGNED and the CONSTRUCTION KIT edition at a discounted price.
Files: 726 • Sounds: 4140 • Size: 14.6 GB
Included sounds – keywords:
BASS DRUM, BOOM, BOX, CAJON, CONCERT TOM, CRACK, CRASH, DAIKO, DOUBLE HIT, ENSEMBLE, FLAM, FOOT, GONG, HARD BEATER, HIT, JAM BLOCK, KICK, KODO, LOG, MALLET, BIN, PUNCH, ROLL, SINGLE, SNARE, SOFT BEATER, SPLASH, STICKS, STOMP, SWEETENER, SWELL, TABLA, TAIKO, TAMBORA, THUNDER SHEET, TOM, WHIP, WHOOSH HIT, WOOD PERCUSSION, WOODBLOCK
20 %OFFEnds 1575500399
A Sound Effect Turns 5:
Get wild deals on sound effects right here
A Sound Effect Turns 5:Get wild deals on sound effects right here
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Aircraft - Jet/Propeller Planes B-25 Mitchell Play Track 115 sounds included, 71 mins total$199$99.50A large collection of authentic B-25 flybys, takeoffs, landings, taxis, startups, and shutdowns with both internal and external perspectives – for a total of 71 minutes of recordings.
This library was over 8 years in the making, and is the refined result of more than 30 field recording expeditions, including one recorded aboard a B-25 during flight. All sounds have been extensively quantified with metadata (action, event length, relative speed, perspective, microphone pattern, and much more) which will make it an ideal resource for those working in audio post production.
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The Cars In Motion sound library gets you exterior sounds of cars driving at different speeds, slow/medium/fast/very fast pass-bys, reverse sounds, accelerations, braking sounds and a lot of additional files. You’ll find different engines, and cars with different character.
From a small BMW 114i through to a powerful Jeep Grand Cherokee 4.7 V8 with Magna Flow exhaust, up to a fast twin turbo BMW 640D F12. In addition to cars there are also files covering big machines like tractors and excavator.
The library features 561 WAV files with total length of 340 minutes, recorded in 96kHz and 24 bits with a Sound Devices 702, two Sennheisers MKH 8040, Rode NTG3 and Sony PCM-M10.
Here are the cars included in this library:• Audi A4 Allroad 2.0 TFSI – 73 files – 73 minutes
• Audi A4 B8 2.0 TDI Avant – 11 files – 10 minutes
• BMW 114i E87 – 20 files – 10 minutes
• BMW 530D E60 – 55 files – 21 minutes
• BMW F12 640D Gran Coupe – 87 files – 49 minutes
• Excavator MF 860 – 30 files – 20 minutes
• Jeep Grand Cherokee 4.7 V8 – 62 files – 51 minutes
• Renault Kangoo 1.6 16V – 71 files – 32 minutes
• Renault Master II 2.8 dTi – 21 files – 13 minutes
• Renault Master F3500 dCi135 – 30 files – 12 minutes
• Tractor Case II CX90 – 15 files – 10 minutes
• Volkswagen Golf II – 26 files – 13 minutes
• Other Cars – 60 files – 23 minutes
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This bundle includes 4 different libraries.
The Baltic Sea sound library is compilation of 56 WAV files recorded with Sound Devices 702, Rode NTG3, Sony PCM-M10, two Oktavas MK012 set in MS, XY and ORTF setup. All the sounds were recorded far away from the cities and roads. Since most of the sounds were recorded in late winter, there are no insects or birds in background. There are few files that includes the sound of birds, but I left them on purpose, because of the overall feel of the files. In this library you will find beautiful sound of waves crushing on the rocks and shore, recorded from different perspectives in different stereo configurations, during calm and windy days. In addition to those sounds, there’s foley like walking, running and swimming in the water.
The Harbours Of Norway sound library features 25 files with ambients recorded in Myre, Sto and Nyksund, very small towns with direct access to the sea. Most of the sound effects were recorded at night, but since it’s a polar day time of the year, it was very pleasurable to walk and look for convenient places to set up my gear. Everything was recoded with ORTF setup built from two Sennheisers MKH 8040. Inside this library, you’ll find a lot of seagulls, waves crushing on the rocks and plants, windy ambients from the cliff, industrial sound from port in Myre with ship unloading the cargo, walla with steam engine boat and additional sounds from boat engine market and air cooling aggregates from food containers. Every file was recorded in 96kHz, edited (i removed any unintentional bumps, pops and unwanted sounds). I limited EQing to removing harsh frequencies, or enhancing a little bit the good sounding ones. At the end of the chain there is a small compression, for louder sounds.
The Summer Ambients sound library contains 33 beautiful WAV files recorded with Sound Devices 702, Rode NTG3, two Oktavas MK012 in MS and stereo XY pattern. All sounds were gathered in different and beautiful places like forests, lakes, meadows or swamps. You can expect amazing ambients, textures, different birds, insects, forest during rain, calm and windy days. It’s a perfect library for designing background sounds. Everything was recorded in amazing Masuria in Poland.
Summer ambients Update – library got 2x bigger and heavier than the original library. 59 additional files, 123 minutes of high quality audio recorded with Sennheiser MKH 8040 ORTF setup, Rode NTG3, Oktava MK012 XY setup plugged into SD702 and Sony PCM-10. It features ambients from the forests, ponds, swamps, meadows, lakes and suburbs recorded is very quiet locations, mostly just before the sunrise, during the day and before sunset far away from the cities.
Water Flow sound library took me about six months to record, consumed about 15 thermoses of tea and 42 litres of gasoline to get to all locations. It offers 90 BWAV files recorded in different locations. Huge part of this library is based on the recording sessions on the rivers. Two completely different locations, recorded regularly for the last 5 months allowed me to create this unique sound library. Most of the recording sessions took place during winter just before the sun was rising to reduce the amount of unwanted sounds. Almost all recordings are completely clear and only few have birds in background, since it was my intention to record some location ambients with natural backgrounds.
You can see the metadata and sound list below.
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From all 4 earth’s corners, air streamlines the environment and shapes our stories. Discover the cinematic world of rare winds!
This sound library is the ultimate achievement of a really ambitious project of recording winds from very remote places across the world.
Included are authentic recordings from the Boreal region (North hemisphere: in Canada and Iceland), from the Austral region (South hemisphere: Tierra del Fuego in Argentina and the Last Hope province in Chile), on Islands in Mediterranean region (Thira in Greece), in the Sahara desert (Marocco), Isle-aux-Grues (Canadian winter), and more (see file list for more details)
These were recorded either in urban settings, countryside, or complete wilderness.Included is a set of useful synthesized, tonal, and designed winds.
The sounds are categorized into 3 folders: Designed, Indoor & Outdoor.
WHAT’S INSIDE:
- 102 stereo files
- Highly focused and meticulously edited sounds
- Ready to use Loop
- Urban area and Wild area
- Useful Designed & Synthesized Wind Sounds
- Recordings from the Boreal region (North) in Iceland & Canada
- Recordings from the Austral region (South) in Argentina & Chile
- Recordings from Islands in Greece & Canada
- Recordings from the desert in Marocco
- Abandonned houses and shelters
- Marina, lake, forest, car, flags, arctic, metal pole, prairie, street, mountain, grass, …
50 %OFFEnds 1574463599
The sound you hear in films isn’t necessarily created from its real world counterpart. But, you recorded actual LEGOs for these films? How did you use those recordings to make the sound of the LEGO universe on-screen?
WP: When we were doing the track for The LEGO Movie, we really did spend a lot of time recording LEGO, Duplo and other plastic sounds of varying weights. It’s interesting as you are trying to create the authenticity and very specific sound of the LEGO plastic, but of course on a whole different scale, as you are in the LEGO world, and at mini figure size.
If you’re seeing the building of the Batwing for example, you’re hearing real metal plate clanging on metal, but backed up with LEGO sound
On The LEGO Batman Movie, because of Chris’s concept for actuality, we had more scope to use real sound effects. He wanted the characters to be based in reality. In scenes like the Master Builder sequences, we would use a heap of LEGO sounds combined with real sounds. If you’re seeing the building of the Batwing for example, you’re hearing real metal plate clanging on metal, but backed up with LEGO sound. Or, an explosion would be a real explosion, with real and LEGO debris.
Batman is known for his ‘wonderful toys.’ What were some of your favorite Batman-related sounds for this film and how were they designed?
WP: I would have to say my favorite toy is the Batwing itself. Its signature sound was built from a variety of jet engines, mixed with high speed Formula 1 cars. The interior was also a lot of fun as it was a super high tech environment, and we got to play with a lot of electronic and cockpit sounds.
We also had loads of fun being inside Batman’s cowl, getting to work with the real Siri voice, and how she sounds in his ears.
How about villain sounds? There were so many villains! Any villain sounds you’re particularly excited about?
WP: My favorite villain would have to have been Clayface. Who doesn’t like an excuse to play in a mud and clay pit in the name of sound recording!!?
Who doesn’t like an excuse to play in a mud and clay pit in the name of sound recording
We also had a lot of fun recording the sounds for Condiment King – yes, they were all recorded by a bunch of sound effects editors making fart noises with their mouths. Moments like that are secretly why we all got into the business!
What audio tools were most helpful when designing sound for LEGO Batman? Can you share specific examples of how you used them?
WP: The sound for the film was created using Avid Pro Tools. Some of the main audio tools we used were Sound Shifter, to get speed for the Bat Mobile, and also Soundtoys, particularly Crystallizer and Tremolator.
Any fun field recordings for The LEGO Batman Movie?
WP: Virtually all the recording of props and LEGO bricks was done in a closed studio environment. They were recorded to Pro Tools using a combination of Neumann KMR81’s, Neumann U87’s, and a variety of contact mics.
Other real world sounds, like vehicles and aircraft, come from our own vast library, which has built up over many years and many films. We manipulated those sounds to suit this film, creating new effects.
Did you have a favorite scene to design? Why? How did you create it?
WP: My favorite scene to design was probably the first time you see the Bat Mobile transform into the Bat Wing. It was so important as it was a proof of concept for Chris.
Once we had captured that, we knew we were headed in the right direction for the rest of the film
He could hear that the sounds he had been wanting, as far as having Batman’s arsenal of toys anchored in the real world, were working. Once we had captured that, we knew we were headed in the right direction for the rest of the film.
What did the Foley team cover, and what props did they use to create Foley that fit in the LEGO universe?
WP: The Foley on The LEGO Batman Movie was treated pretty much as if all the characters were real people, so a normal foot pass was done, as well as props and cloth. The tricky part was getting the animated figure movement to feel and sound like a normal foot fall. Most of the surfaces were regular concrete or linoleum, with the exception of the walkways and computer floor areas in the Bat Cave which John [Simpson] created from various metal surfaces.
The thing that was used most for any specific plastic effect was the big bucket that held all the LEGO bricks
Very little LEGO plastic was used in the Foley room. In fact the thing that was used most for any specific plastic effect was the big bucket that held all the LEGO bricks! For the Daleks’ movement (those alien-robots from Doctor Who), John used good, old fashioned heavy duty film can boxes. He added a lot of micro detail to the main costumes, such as the Joker’s little watch chain —though we never really see it move, it just adds to his character nicely. Of course Batman has the most kit, so we over play everything he does with it. After all, he is Batman!
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From all 4 earth’s corners, air streamlines the environment and shapes our stories. Discover the cinematic world of rare winds!
This sound library is the ultimate achievement of a really ambitious project of recording winds from very remote places across the world.
Included are authentic recordings from the Boreal region (North hemisphere: in Canada and Iceland), from the Austral region (South hemisphere: Tierra del Fuego in Argentina and the Last Hope province in Chile), on Islands in Mediterranean region (Thira in Greece), in the Sahara desert (Marocco), Isle-aux-Grues (Canadian winter), and more (see file list for more details)
These were recorded either in urban settings, countryside, or complete wilderness.Included is a set of useful synthesized, tonal, and designed winds.
The sounds are categorized into 3 folders: Designed, Indoor & Outdoor.
WHAT’S INSIDE:
- 102 stereo files
- Highly focused and meticulously edited sounds
- Ready to use Loop
- Urban area and Wild area
- Useful Designed & Synthesized Wind Sounds
- Recordings from the Boreal region (North) in Iceland & Canada
- Recordings from the Austral region (South) in Argentina & Chile
- Recordings from Islands in Greece & Canada
- Recordings from the desert in Marocco
- Abandonned houses and shelters
- Marina, lake, forest, car, flags, arctic, metal pole, prairie, street, mountain, grass, …
50 %OFFEnds 1574463599 -
This bundle includes 4 different libraries.
The Baltic Sea sound library is compilation of 56 WAV files recorded with Sound Devices 702, Rode NTG3, Sony PCM-M10, two Oktavas MK012 set in MS, XY and ORTF setup. All the sounds were recorded far away from the cities and roads. Since most of the sounds were recorded in late winter, there are no insects or birds in background. There are few files that includes the sound of birds, but I left them on purpose, because of the overall feel of the files. In this library you will find beautiful sound of waves crushing on the rocks and shore, recorded from different perspectives in different stereo configurations, during calm and windy days. In addition to those sounds, there’s foley like walking, running and swimming in the water.
The Harbours Of Norway sound library features 25 files with ambients recorded in Myre, Sto and Nyksund, very small towns with direct access to the sea. Most of the sound effects were recorded at night, but since it’s a polar day time of the year, it was very pleasurable to walk and look for convenient places to set up my gear. Everything was recoded with ORTF setup built from two Sennheisers MKH 8040. Inside this library, you’ll find a lot of seagulls, waves crushing on the rocks and plants, windy ambients from the cliff, industrial sound from port in Myre with ship unloading the cargo, walla with steam engine boat and additional sounds from boat engine market and air cooling aggregates from food containers. Every file was recorded in 96kHz, edited (i removed any unintentional bumps, pops and unwanted sounds). I limited EQing to removing harsh frequencies, or enhancing a little bit the good sounding ones. At the end of the chain there is a small compression, for louder sounds.
The Summer Ambients sound library contains 33 beautiful WAV files recorded with Sound Devices 702, Rode NTG3, two Oktavas MK012 in MS and stereo XY pattern. All sounds were gathered in different and beautiful places like forests, lakes, meadows or swamps. You can expect amazing ambients, textures, different birds, insects, forest during rain, calm and windy days. It’s a perfect library for designing background sounds. Everything was recorded in amazing Masuria in Poland.
Summer ambients Update – library got 2x bigger and heavier than the original library. 59 additional files, 123 minutes of high quality audio recorded with Sennheiser MKH 8040 ORTF setup, Rode NTG3, Oktava MK012 XY setup plugged into SD702 and Sony PCM-10. It features ambients from the forests, ponds, swamps, meadows, lakes and suburbs recorded is very quiet locations, mostly just before the sunrise, during the day and before sunset far away from the cities.
Water Flow sound library took me about six months to record, consumed about 15 thermoses of tea and 42 litres of gasoline to get to all locations. It offers 90 BWAV files recorded in different locations. Huge part of this library is based on the recording sessions on the rivers. Two completely different locations, recorded regularly for the last 5 months allowed me to create this unique sound library. Most of the recording sessions took place during winter just before the sun was rising to reduce the amount of unwanted sounds. Almost all recordings are completely clear and only few have birds in background, since it was my intention to record some location ambients with natural backgrounds.
You can see the metadata and sound list below.
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The Cars In Motion sound library gets you exterior sounds of cars driving at different speeds, slow/medium/fast/very fast pass-bys, reverse sounds, accelerations, braking sounds and a lot of additional files. You’ll find different engines, and cars with different character.
From a small BMW 114i through to a powerful Jeep Grand Cherokee 4.7 V8 with Magna Flow exhaust, up to a fast twin turbo BMW 640D F12. In addition to cars there are also files covering big machines like tractors and excavator.
The library features 561 WAV files with total length of 340 minutes, recorded in 96kHz and 24 bits with a Sound Devices 702, two Sennheisers MKH 8040, Rode NTG3 and Sony PCM-M10.
Here are the cars included in this library:• Audi A4 Allroad 2.0 TFSI – 73 files – 73 minutes
• Audi A4 B8 2.0 TDI Avant – 11 files – 10 minutes
• BMW 114i E87 – 20 files – 10 minutes
• BMW 530D E60 – 55 files – 21 minutes
• BMW F12 640D Gran Coupe – 87 files – 49 minutes
• Excavator MF 860 – 30 files – 20 minutes
• Jeep Grand Cherokee 4.7 V8 – 62 files – 51 minutes
• Renault Kangoo 1.6 16V – 71 files – 32 minutes
• Renault Master II 2.8 dTi – 21 files – 13 minutes
• Renault Master F3500 dCi135 – 30 files – 12 minutes
• Tractor Case II CX90 – 15 files – 10 minutes
• Volkswagen Golf II – 26 files – 13 minutes
• Other Cars – 60 files – 23 minutes
50 %OFFEnds 1574463599
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Game Audio Packs & Bundles Dirt & Asphalt Series: Motorbikes Bundle Play Track 365 sounds included, 305 mins total
$116.66$99.17Dirt & Asphalt Volume 1 is the first addition of vehicle and transportation recordings from Output Audio. This library contains a selection of recordings from 3 road bikes, with additional bonus content from other road motorbikes. The library also contains acceleration ramps for use in granular playback engines.
Road bikes included:
• Yamaha 450cc Thumper
• Triumph 600cc Dual Fuel Injection
• Aprillia RST 1000cc Futura
• A selection of bonus pass-bys and externals from a range of high performance bikes
Dirt & Asphalt Volume 2 is the second addition of vehicle and transportation recordings from Output Audio. This library contains a selection of recordings from two motocross events and two practise sessions, with additional bonus content provided as race atmospheres.
Library highlights:AMCA Motocross Classes Included:
MX1/MX2/Experts/Seniors Unlimited classesEngine Sizes Included:
85cc/125cc/250cc/450cc engines
15 %OFF -
Ui Two is the sequel to our overwhelming popular Ui One collection, this collection contains 377 original sounds uniquely crafted for creating user interfaces, telemetry, gadgetry and more.
Empty Sea’s Mark Camperell, carefully crafted these sounds using a variety of beepers, boopers and other sonic tools. A sample of which include synths, samplers, spectral editors and more. Each sound was recorded at 48k/24bit. Planned, processed, mangled and otherwise destroyed, every single tone was tweaked until it was something new, original, and exciting.
As usual, we meticulously edited, mastered and embedded the files with metadata. This collection is priced to move, so don’t hesitate. If you’re tired of the your same old UI inspiration, Ui Two from The Library by Empty Sea is a great addition to your library.
33 %OFFEnds 1578005999 -
An electric car sound library with a range of FX from the Hyundai SUV, Kona.
The library includes numerous driving FX on both gravel and asphalt including pass-bys, take offs, corners, approaches and skids.
It also contains a large range of interior recordings from driving at highway speed all the way to buttons and switches.
Multiple FX on each track – recorded in Sydney, Australia
-
car interiors library is a great supplement for all the car engine sounds that you already own. That way the action on the inside of the car is not stale at all. Dashboard buttons, seatbelts, automatic windows, switches, switching gears, brake, clutch and gas pedals, vents, turning signals. They’re all here!
Got a whole bunch of roaring car engine sounds but then realised that you’re not equipped with all of the boring stuff like:
car door handles, seatbelts, turn signal, air vents, buttons and switches, seats, storage compartments, horns, windows, pedals (gas, brake, clutch), handbrakes wend
and all other Car Interior sound effects? Well then.. look no further! This is just the pack for you.
160 wav files with over 400 single sounds in total. Car Interiors will spice up that car interior scene with real, crisp sounds, recorded from over 6 cars in total!20 %OFFEnds 1574981999 -
Destruction & Impact Cinematic Strikes Play Track Up to 4140 sounds included
From: $119From: $95.20ENORMOUS SOUNDING PERCUSSIVE HITS
CINEMATIC STRIKES joins the BOOM Library Cinematic Series – and it focuses on big sounding drums. A whole world of cinematic percussive sound design lies a few clicks away: From devastating cracks and stomps over crisp swells and rolls to epic ensemble hits – you will be sure to find and build just what you are looking for.
With the ultimate flexibility of different microphone positions, single and ensemble hits, flams and swells using various drums and beaters, you couldn’t be better equipped to design huge blockbuster and trailer hits – or simply place ready-to-use DESIGNED sounds into your timeline and feel the earth shake.
CINEMATIC STRIKES – CONSTRUCTION KIT:
FLEXIBLE SOUND DESIGN TOOLKITThe Construction Kit offers you one of the most comprehensive drum hit packages ever recorded. Carefully planned to satisfy and complement every spot in the frequency range, you will never run out of low end booms, aggressive cracks, mid-range body impacts, reverberant tails and excellent sweeteners to top it off.
PERSPECTIVE & RHYTHM
Not only are you able to produce impressive sounding hits, but also transition into, out of and between peaks. Control the attack and release of each sound, using rolls, flams, double hits and other meticulously performed techniques. Three coherent microphone positions make spatial adjustments a breeze.
Files: 618 • Sounds: 3708 • Size: 13 GB
CINEMATIC STRIKES – DESIGNED:
MAXIMUM PUNCH – AND THEN SOMECINEMATIC STRIKES – Designed is what you get when layering and processing Construction Kit sounds BOOM Library style.
From rumbling low-end BOOMS, soft and natural sounding WHOOSH HITS to aggressive, frontal CRACKS and PUNCHES, the Designed library showcases what’s possible, while saving precious time and budget on a tight schedule.
This package is particularly useful for filmmakers and trailer sound designers.
Files: 108 • Sounds: 432 • Size: 1.4 GBCINEMATIC STRIKES BUNDLE:
THE BUNDLE – The best of both worlds at a discounted price.
The Bundle gives you the full sound design power as it contains both – the DESIGNED and the CONSTRUCTION KIT edition at a discounted price.
Files: 726 • Sounds: 4140 • Size: 14.6 GB
Included sounds – keywords:
BASS DRUM, BOOM, BOX, CAJON, CONCERT TOM, CRACK, CRASH, DAIKO, DOUBLE HIT, ENSEMBLE, FLAM, FOOT, GONG, HARD BEATER, HIT, JAM BLOCK, KICK, KODO, LOG, MALLET, BIN, PUNCH, ROLL, SINGLE, SNARE, SOFT BEATER, SPLASH, STICKS, STOMP, SWEETENER, SWELL, TABLA, TAIKO, TAMBORA, THUNDER SHEET, TOM, WHIP, WHOOSH HIT, WOOD PERCUSSION, WOODBLOCK
20 %OFFEnds 1575500399
+ free sounds with every issue: